Review: The Weirdest Sisters (Upstairs at The Gatehouse)

Review by Isabel Benson

⭐️⭐️⭐️⭐️

If you thought the witches of Macbeth were all cauldrons, curses and creepy chanting, The Weirdest Sisters gleefully proves otherwise. Playing Upstairs at the Gatehouse, this delightfully colloquial parody imagines the trio before any broomsticks or prophecies; just three ‘Sisters’ muddling through life together. Equal parts silly and sincere, it serves up squabbling worthy of any family reunion, moments of unexpected tenderness, and just enough sadness to give the comedy a bittersweet edge.

The show comes to life immediately, opening with an evil cacophony of laughter – it’s most certainly weird, and we warm to our invitation into this witchy world. At first glance, these are not the Shakespearean hags we know so well, but three seemingly ordinary young women (Lottie Oldham, Erin Astra and Heva Kelly). It is perplexing, but also intriguing, to find the three sisters opening their own perfume shop whilst they drink wine amongst themselves. The stage is a curious puzzle, decorated with medieval-looking poison bottles and what I could only describe as ‘viking goblets’, juxtaposed with a very 2025-looking landline phone. The set could come across as discombobulated, but maybe it is the point to take this tale out of context; a fable that floats through the ages, placing its greatest emphasis on the bonds of fidelity between these three sisters.

Arguably, the first twenty minutes of the show lack direction, but make up for it in energy. Here, we are bonding with the sisters; chemistry is established, and a pecking order is formed, but there is not much narrative movement. Nevertheless, Kelly must be commended for battling a vast array of sincere topics in such a short span of time. Her writing is interesting and impressive. I was particularly enthused by the sporadic rhyming couplets, echoing the famous play. That said, some could argue that too many ideas were piled onto the plate, leaving little time to savour each one. Hecate’s entrance, for example, felt overdue; arriving earlier might have given us more insight into why Ramos chose to portray the Goddess in such a distinct way. Still, the script’s humour provided a playful note on which to close a series of unfortunate events.

Yet, I found myself struggling to determine the true core of the story. Why are the witches’ backstories being unravelled in this way? Is it sly social commentary on capitalism? There’s a fleeting nod to London and the City, and I caught the thread about small businesses deserving more love and attention. But where was the emotional pull, the pathos that could truly reframe these archetypally “evil” characters? What it cried out for was the kind of beating heart that Wicked gave to Elphaba: a backstory not just told, but felt. We do obviously feel a great loss for Astra when she undergoes her miscarriage, but again, this moment did not have enough build-up and I didn’t find myself being as moved as I could’ve been - even despite Astra’s acting being so compelling in this moment.

Having said that, heart is definitely founded within the sisterly bonds. Astra, Kelly and Oldham have clearly got chemistry, gesturing to each other with such ease and naturalism that it was hard to imagine them as anything other than blood sisters! I especially liked their distinction from one another, with Oldham as the clear ring-leader - a ‘Jo March’ type with a fiery temper but unbending love for those around her, Astra as the graceful diplomat, and Kelly as the youngest longing for independence. Kelly did well to give her character many layers, starting the show as the victim of sisterly abuse but ending with an agency commanding respect from her elders and the audience alike. The entrance of neighbour (Beca Barton) was a highlight. Again, it would have been great to have seen more of them. Not only did their entrance elevate the comedic dynamic onstage with a sultry, sardonic, sassy subtlety, but this was also the first time where it was clear where the narrative was going - the ‘small business war’.

Overall, Swivel Eye Theatre should be applauded for their commanding take on The Weirdest Sisters. This is a company that knows how to deliver - never missing a cue, filling every beat with warmth, energy and an evident mastery of their craft. Yes, the plotline may have occasionally strayed off its broomstick, but the characters never lost their footing, and the storytelling kept me hooked right through to the final bow. This play is a celebration of loyalty, chaos and the kind of sibling bickers only love can survive. The Weirdest Sisters is one to catch at the upcoming Camden Fringe! It is wacky, punchy, and energetic, calling for a good laugh and one to go to with all your sisters! It is a perfect Fringe fare that guarantees a good laugh and is best enjoyed with, quite literally, all your sisters. After all, as the famous song goes, these sisters are doin’ it for themselves… and doing it brilliantly in a perfume shop!

The Weirdest Sisters played at Upstairs at The Gatehouse from August 12th to August 14th

To stay up to date with future performances, follow Swivel Eye Theatre on Instagram